"Dodes'ka-den" left a strange taste in my mouth, where I appreciate making the best out of a bad situation but truly despised the way this film turned out in the end.
This is the newest Akira Kurosawa movie I have seen in years, and it came at a time when Kurosawa was about to be let go by Toho Studios, for continually making films that were far too American for Japanese audiences to appreciate, yet "Dodes'ka-den" might be his most Japanese-rooted film.
The film is set in a makeshift garbage town on the outskirts of Tokyo, and it follows dozens of people who live in trash and burned-out houses when the biggest and brightest metropolis is just out of their reach. The connecting thread among these stories is a young mentally-challenged boy who wants nothing more than to be a tram conductor and so he goes around the town in an imaginary tram, with him making all the noises and complaining about the service team not keeping it in good shape.
There are loads of characters this film follows, including a young girl working herself to death when her aunt gets sick and her uncle begins to mistreat her when she gets tired, a silent man with the eyes of a dead person and his lost love, a business man with a strange tick and his obnoxious wife, a father and son living in a burnt out car who dream of a owning a massive house, and two couples that regularly switch husbands.
What I appreciate about "Dodes'ka-den" is that you see the humanity and kindness in all these people, but you also understand why they are in this terrible place. Some make bad life decisions, others have crappy judgment, while a few were just dealt bad hands and have always been dealing with hard times. Most of these characters are either working their best to get out of this place, or have come to enjoy their new homes. The boy in the imaginary tram never seems like he wants a different life, despite children picking on him and his mother, and is genuinely happy to be where he is.
One might think the message of "Dodes'ka-den" would be to love the life you are dealt with, not the one you want.
But then we get to the ending of some of these stories and they take a sour turn. Like dropping a lemon and a bunch of sour patch kids in a carton of milk that is about to expire - that's how sour this movie gets.
Without spoiling how some of these tales end, especially the girl working too hard and the father and son living in the car, their resolutions come far too quickly or suddenly and seem to oppose the overall message of the film. What could have been a happier tale about finding the best in a bad situation turns to disturbing mess that ends abruptly.
Overall, I enjoyed parts of "Dodes'ka-den" but the ending makes me question the journey I just took. Not the best outing from Akira Kurosawa, but I appreciate this look at a world I would not have considered otherwise.
Final Grade: B-
It's Mick from "Rocky" and the Wolf Man paired up in the wackiest roadtrip movie you've ever seen! From the zany writer who brought you "Grapes of Wrath" and "East of Eden," John Steinbeck spins a yarn that'll leave you in stitches, as two rough-and-tough loners try to make in sunny California. But, uh oh! Looks like they cannot help but get into trouble, those crazy guys! Can they make it big while moving some hearts? Will George make his dreams come true? Will Lenny finally get his rabbits? Find out that and more in Lewis Milestone's most hilarious tale yet "Of Mice and Men," coming to a theater near you. *
*Disclaimer: "Of Mice and Men" is not actually coming to any theater close to you, unless you developed a time machine and went back to 1939. In which case, why are you going back in time to see a movie when you can kill Hitler? Like, seriously? Time and space are bendable and mean nothing, and you go back to watch a Burgess Meredith and Lon Chaney Jr. flick? Not stopping the assassination of Lincoln or go roam with dinosaurs? You literally have the power of "Back to the Future" and "Doctor Who" and this is what you choose to do? Not that we are judging you or anything, it's just that there are certain things one must do when discovering time travel. In fact, why are you keeping time travel to yourself? We think that's the worst thing you can do. Come on man, give us some of that! You're lucky we don't come after you and steal that "magic" time machine from you for not using it properly. **
**Disclaimer: On behalf of the staff, we would like to apologize for that outburst. We don't condone that kind of behavior here. We got a bit anxious at the excitement of your time machine and only wished to see the creation of the firework. I mean, who doesn't love fireworks? It's like watching God cry explosions of fire and awesomeness. Anyway, what were we talking about? Oh yeah, "Of Mice and Men." You should go check it out if you like classic American tales about hard work and overcoming your personal flaws, with good performances from Burgess Meredith and Lon Chaney Jr. Boy, this promo got weird, didn't it? Time machines and fireworks will do that to us. So, where you going with your time machine? Can we come? We promise not to bug you about going to see "Of Mice and Men" even though you should. ***
***Disclaimer: Give us your time machine!
Final Grade: B-
Love and loneliness often walk hand-and-hand with one another, and it is impossible to fully appreciate one without the other. They are also concepts that break cultural boundaries, as seen in Wong Kar-wai's Hong Kong 2000 film "In the Mood for Love."
The film is set in 1962 in a Hong Kong apartment complex, when two tenants move in on the same day, both young married couples but all of them devoted to their work. The wife of one couple, Shu Li-zhen (Maggie Cheung), and the husband of the other, Chow Mo-whan (Tony Leung), have jobs close to home, but their spouses' careers lead them overseas to Japan, leaving them alone most nights in a town that doesn't speak their language. Chow and Shu become friends and see a lot of each other, especially when their significant others are out of town an increasing amount. The two slowly begin to realize their spouses are out of town at the same time and piece together that they are having an affair with each other.
"In the Mood for Love" excels at creating an atmosphere of isolation and the need for companionship and understanding. Shu and Chow go about the same daily routine, avoiding contact with foreigners as much as possible, only to return to an empty tiny room to eat the same noodles, day in and day out. Their only comfort comes when they get to be with each other, as they talk about writing a script for a marital arts television program and their spouses. The two discuss having an affair of their own, but Shu becomes skittish and shuts down the moment romance is mentioned.
The film portrays Shu and Chow as being entirely alone in the world and are looking for some sort of acceptance in the world, but both are doing it in different ways - Chow wants to be with Shu, but Shu might hope to get back with her husband. It delves deep into the unspoken rules of marriage in China and Hong Kong and how society treats those who cheat and go through divorce, mostly through Maggie Cheung's repressed emotions and reserved nature around Chow. She hates her husband for what he did, but she doesn't want to be an outcast.
But I will remember "In the Mood for Love" for its color palette and cinematography. The colors are stylized yet tasteful, subtle yet bold, where every room, outfit and camera angle has an impact on an emotional level. From the billowing red curtains to a jade-green dress, the look of this film is breath-taking and supremely beautiful.
Overall, "In the Mood for Love" is a subtle, somber film about two lost souls longing for acceptance in different ways. It is deeply enriched in the customs of the Chinese culture and the diversity of Hong Kong in the 1960s, so be aware of the cultural differences. But if you ever see a Chinese film that doesn't have to do with martial arts, be sure to check out "In the Mood for Love."
Final Grade: B
I have noticed most people have two basic reactions to musicals - They either love them and are saddened that there are not enough of them, or groan in frustration because musicals are so boring. When I went to see the latest musical, "La La Land," one kid, probably around 14 or 15, was laying on a bench outside the theater and waited until the last minute to go inside, and did so stomping his feet in frustration. He clearly did not want to be there.
Why is this one of the general reactions to musicals? Why are there people who roll their eyes at song and dance numbers? It might explain why musicals are so scarce and why they seem to be a dying artform. As someone who previously hated the concept of musicals, this hatred towards them probably comes from a lack of action or reason to care about the music. When films like "Moulin Rouge!" did their musical numbers, the film would come a screeching hault and the plot did not seem to matter anymore.
But another reason could be that musicals are not grounded in reality. Who breaks out into song when they are happy or sad? What kind of person can come up with an impromptu musical number with nothing more than their wit and emotions?
I felt that is what made musicals so unappealing for a long time, with the only exception being "Singin' In the Rain." Then I realized what made that Gene Kelley movie so admirable and so much fun - because it was not grounded in reality, just history. The appeal of the musical is they are not supposed to be about how people really act, but a visual display of individuals raw and uncut emotions using song and dance. Those who say musicals lack action are missing the point, the elaborate sequences using thousands of people and moving parts is the action.
Musicals are beautiful pieces of art that speak their minds through choreography, vibrant colors and long takes.
And I would love to thank "La La Land" for making me realize all this.
"La La Land" is the most whimsical film experience of 2016 that doesn't pull any punches. It balances a harsh reality and playful nature perfectly. It shows the lives of people who moved to Los Angeles with bigger than life dreams, attempting to conquer the world in their own way, but ultimately realize this world is unforgiving and full of too much talent.
Set in modern day L.A., Mia Dolan (Emma Stone) is an aspiring actress working at a coffee shop on the Warner Brothers lot, and is constantly turned down from audition after audition. But when Mia has a chance encounter with struggling pianist Sebastian Wilder (Ryan Gosling), the two form an immediate connection, and try their best to help each other, Mia with getting her acting noticed, and Sebastian to get his jazz career off the ground.
From the first few moments of "La La Land," I was entranced by the surreal combination of reality and fantasy, as hundreds of people stuck on an L.A. freeway break out into song and dance around like they don't care about anything else. There are people breakdancing on top of their cars, skating down this long road and a band playing inside of a truck. But the best part is that it is all done in one continuous take, uncut by editing so we can appreciate every single person on this bridge, even the ones you can see dancing a mile down the road.
There's another long take sequence between Emma Stone and Ryan Gosling as they tap dance with increasing vigor and excitement, like something right out of a Fred Astaire and Ginger Rogers film. In fact, there's many neat touches to older musicals, with the Cinemascope introduction to a fantasy sequence later in the film reminiscent of Broadway Melody from "Singin' In the Rain."
Yet the film is unapologetic when it comes to the harsh reality of trying to make in Hollywood. Thousands of people flock to L.A. every year to become famous in one way or another, but it ultimately leads down a long and disappointing road, as Mia and Sebastian learn throughout the film. This leads to best song in the film, "City of Stars," with its melancholy lyrics and pitch-perfect tone from Ryan Gosling.
Overall, everyone should go see "La La Land" because it is the reason films are made. A story that can only be told through cinema, while giving us a reason to love musicals again. Don't wait for this to come out on DVD either, this is a grand experience that needs to be seen on the big screen. This is the most personal yet elaborate movie of the year and you don't want to miss it.
Final Grade: A
It is odd how susceptible we are to suggestion as we watch a movie and how one little thought before or during a film can change your entire outlook on the picture you're seeing. Perhaps it is a difference in perspective, like realizing that "Iron Man 3" is a Tony Stark movie instead of Iron Man, or maybe a snide comment from a friend about how ridiculous the plot was even though you were taking it pretty seriously. And it doesn't take much either.
When I went to see "Moana," there was a brief introduction from the directors, Ron Clements and John Musker, who proudly say they directed other Disney-animated films like "The Little Mermaid," "Aladdin" and "Hercules." At the time, I didn't give it much thought, but as this new Disney feature progressed, I began to realize something - "Moana" takes the best elements of those three movies and rolls it into one personal journey of self discovery.
In the beginning, the earth is only ocean until the goddess Te Fiti used her powers of creation to bring life and beauty to the world, creating many islands that her people can live upon. But one day, the demigod Maui (Dwayne Johnson) steals Te Fiti's source of power and darkness erupts from the ocean, as well as the lava monster Te Ka. The two fight to a standstill, but Te Fiti's mystical heart is lost in the ocean depths, until a young girl, Moana (Auli'i Caravalho) is given the heart by the ocean.
Moana is the daughter of the chief and will someday run their island, but she is only interested in exploring the ocean, which her father forbids her from doing. She becomes confused about her purpose on the island and wants to know what is beyond this tiny island they stand on. She is given a new purpose, though when darkness and death begin reaching the island and realizes that she must take Te Fiti's mystic heart back to where it belongs, with a little help from a demigod.
Moana's character is a strange mix between Aladdin and Jasmine. She loves her people and cares for them, but she wants to know how the world works outside of the little spot of land she calls home. Her crazier antics involving the ocean are shunned by the village elders and she is sometimes seen as an outcast - a street rat, if you will. She is adventurous, witty and independent, while also happily taking the title of princess.
As for the one other main character, Maui, I wanted to say he reminded me of the Genie, with his phenomenal cosmic powers and selfish sense of humor, but his otherworldly powers are mostly limited to his fish hook. Instead, Maui feels like a Polynesian version of Hercules, with his unrivaled strength and need to constantly prove himself, both to the gods and to himself.
We're told that Maui is responsible for many of the things humans take for granted, like the wind, coconuts, the sun being up long enough to enjoy the day and pretty much every enjoyable aspect of nature. Anytime Maui performs a good deed, a new tattoo is magically given to him (cutie marks, anyone?). But all the work he does never seem to be enough, which might be why he stole the power of creation. He treats everything like a trial of strength and might, when all he really wants is acceptance.
"Moana" certainly has the smallest main cast of any Disney movie, since the majority is Moana and Maui at sea. The two spend most of their time learning from the other and singing some pretty good musical numbers, like Maui's "You're Welcome!" which is basically one massive ego-trip, which makes the Rock such a great choice to voice Maui. So don't expect a diverse cast in this film, but be ready for lots of mythology about the sea, like you would get in "The Little Mermaid."
In other words, "Moana" is the tale of Aladdin/Jasmine teaming up with Hercules in the world of "The Little Mermaid." And I mean that in the best possible way.
Like any other Disney-animated movie, "Moana" is beautiful to look at, even if it is mostly at sea. The way the water lights up and night or reflects the sunlight is gorgeous and there are some creative characters these two come across, like a band of coconut pirates that outnumber our heroes but are ridiculously small. The ocean becomes its own character with its vast shades of blue and green.
Overall, "Moana" is best Disney-animated film since "Tangled." It is filled to the brim with mythology, has a great message for both children and adults about being who you want to be instead of what others think you should be, and what it lacks in diversity it makes up for in sheer fun. There is enough in this film for both adults and kids to enjoy it, so this is one you don't want to miss.
Final Grade: B+
The second film by George Pal adapting an H.G. Wells novel, the first being "War of the Worlds," "The Time Machine," falls into many of the same categories as the other adaptation - Good effects, lousy characters, but a great job adapting Wells' message about the strengths and weaknesses of mankind.
H.G. Wells was way ahead of his time, coming up with ideas for science fiction stories in the 1800s and developing the blue print that every alien invasion and time travel story comes from.
"The Time Machine" follows inventor George Wells (Rod Taylor) who has developed a machine that allows him to travel through the fourth dimension of time. He demonstrates the device to his colleagues, but they can't believe in such a contraption. When George gets fed up with living in the present, he uses his machine to travel into the future and see how far mankind has come in the year 802,701 A.D.
The film takes a while to get going, since George spends the first third of the film contemplating what the future will be like and why he has no interest in going into the past (even though he built in that function), as well as going into the future by just a few years. It doesn't help that George comes across as the typical action hero who has to save the day.
Overall, I enjoyed "The Time Machine" for its unique approach with time-lapse photography and how far mankind will have come in thousands of years, whether that is forward or backwards. The pacing isn't anything to write about and I don't remember anything about the characters. This is worth checking out to see where time travel got its science fiction roots.
Final Grade: C+
If you love the tone of a Charlie Chaplin film, you'll appreciate "Limelight." Chaplin's films are as sentimental as they come, always about finding hope, love and joy in the most unlikely of places and this is the first two-thirds of "Limelight," as Chaplin plays an aging stage comedian, Calvero, and saves a young dancer (Claire Bloom) who attempted suicide and helps give her a new purpose in life. Calvero is unable to find work in London, due to his reputation, and has to hide behind pseudonyms and booze.
I found the memorable parts to be Chaplin's inspirational speeches to Bloom, about how man is the most fascinating creature in the universe and we shouldn't throw that majesty away. For a man who spent most of his film career in the silent era, refusing to adopt sound pictures even years after they were created, Chaplin is one of the most simple yet eloquent individuals I've seen in movies. Of course, after Calvero experiences his own setbacks, the dancer turns it around and brings him back from the brink.
But the problem with "Limelight" come from the lack of comedy throughout this two-hour film. For being a Charlie Chaplin film, this is lacking in physical comedy, which mostly doesn't come until the end. There is so much focus on the heartfelt moments that the comedy is scarce. Sometimes Chaplin gets a funny line, but his delivery isn't as good as it use to be.
Overall, the sentimental side is a bit too much in "Limelight" without a good amount of Chaplin comedy to balance it out. As a tribute to Chaplin's stage days in London, the joy of being at the theater shines through and the story of two people learning to love again through the stage is heartwarming. But this one goes on a bit too long at points and ends up repeating a few scenes.
Final Grade: C+
